ABSTRACT

Wall hanging designs are mostly projected in prints, photographs and paintings, but less attention is given to tapestry design. There are hardly any wall hangings of Plateau State landscape formations, to the best of my knowledge that are in tapestry design. Consequently, the researcher sought to translate landscape compositions into tapestry wall hangings for embellishing the interior. The essence is to produce landscape decorative art and design works that have unique characteristics of the Jos Plateau formations, using the tapestry weaving techniques and to project its beauty and potentials for tourism and economic development. The objectives were to: collect prominent landscape formations of Plateau State, into tapestry wall hanging designs; sketch and make swatches of different landscape compositions; weave different landscape designs, using interlacing and interlocking techniques in tapestry; package selected tapestry wall hanging projects as materials for tourism promotion. The population of this study constituted the scenic environment of Plateau State, based on their visual attractiveness and compositional arrangement of the landscape forms. Seven projects were produced using the concept of minimalism in line with the research objectives. The research design used was explorative, developmental, and participatory research and the projects were discussed based on the set objectives. The following findings emerged from the production: The use of more than two weft threads in the production of the projects seems better with the following reasons. It has more textures compared to the works produced with two wefts, it is heavier than the works produced using two wefts, easy to manipulate in terms of colour variation and alternating threads to form patterns, weaving patterns from the middle of the loom was possible and could be seen in the production of Shere hills in chapter three, looping of wefts without tying the knots to avoid rough surfaces was possible, it was possible to wash and dry finished tapestry projects using detergent before framing. Tapestry is quite cumbersome and complex work that requires combination of concept development, sketches, swatches, woven patterns and knowledge of colour theory is highly important for this research.

 

 

TABLE OF CONTENTS

DECLARATION ………………………………………………………………………………………………….. iii
CERTIFICATION ………………………………………………………………………………………………… iv
DEDICATION ………………………………………………………………………………………………………. v
ACKNOWLEDGEMENTS…………………………………………………………………………………….. vi
ABSTRACT ……………………………………………………………………………………………………….. vii
TABLE OF CONTENTS ……………………………………………………………………………………… viii
LIST OF PLATES ………………………………………………………………………………………………… xi
LIST OF FIGURES …………………………………………………………………………………………….. xiv
DEFINITION OF OPERATIONAL TERMINOLOGIES: …………………………………………… xv
CHAPTER ONE ……………………………………………………………………………………………………. 1
INTRODUCTION …………………………………………………………………………………………………. 1
1.1 Background of the Study ………………………………………………………………………………… 1
1.2 Statement of the problem………………………………………………………………………………… 4
1.3 Aim of the study …………………………………………………………………………………………….. 6
1.4 The objectives of the study are to:- ………………………………………………………………….. 6
1.5 Research Questions ………………………………………………………………………………………… 6
1.6 Significance of the Study………………………………………………………………………………… 7
1.7 Justification of the Study ………………………………………………………………………………… 8
1.8 Scope and delimitation of Study ……………………………………………………………………. 10
1.9 Limitation of the Study …………………………………………………………………………………. 10
1.10 Conceptual Framework: ……………………………………………………………………………….. 10
CHAPTER TWO …………………………………………………………………………………………………. 12
REVIEW OF RELATED LITERATURE ………………………………………………………………… 12
2.1 Introduction …………………………………………………………………………………………………. 12
2.2. Concept of Tapestry loom …………………………………………………………………………….. 12
2.3 Concept of Tapestry and Wall hangings…………………………………………………………. 14
ix
2.4. Techniques and Material of Production………………………………………………………….. 23
2.4.1 Oriental Tapestries ……………………………………………………………………………………….. 25
2.4.2 Islamic Tapestries ………………………………………………………………………………………… 26
2.4.3 Peruvian Tapestries ………………………………………………………………………………………. 26
2.5 Techniques …………………………………………………………………………………………………… 27
2.6 Production……………………………………………………………………………………………………. 29
2.7 Concept of Landscape…………………………………………………………………………………… 31
2.8 Historical and Geographical Location of Plateau State ……………………………………. 34
2.9 Plateau Landscape Formations ………………………………………………………………………. 35
2.10 The Importance of Plateau State Landscape Formations …………………………………. 36
2.11 Related Rendition in Landscapes and Tapestries …………………………………………….. 38
2.12 The Concept of Minimalism …………………………………………………………………………. 41
CHAPTER THREE ………………………………………………………………………………………………. 43
RESEARCH DESIGN AND METHODOLOGY ………………………………………………………. 43
3.1 Intrduction …………………………………………………………………………………………………… 43
3.2 Research Design …………………………………………………………………………………………… 43
3.2.1 Explorative Research ……………………………………………………………………………………. 43
3.2.2 Developmental Research …………………………………………………………………………….. 45
3.2.3 Participatory Research ………………………………………………………………………………….. 48
3.3 Population of the Study ………………………………………………………………………………… 48
3.5 Data Collection Instrument …………………………………………………………………………… 49
3.5.1 Method of Data Analysis ………………………………………………………………………………. 49
3.6.1 Measurement and Construction of Looms ……………………………………………………… 50
3.6.2 Materials and Accessories for Handcrafted Tapestry Production ……………………… 50
3.7 Samples selected from the Scope of the Study ………………………………………………………54
3.8 Studio Practical Exploration ………………………………………………………………………….. 54
3.8.1 Phase one: ……………………………………………………………………………………………………. 54
x
3.8.2 Stages of production …………………………………………………………………………………….. 55
3.8.3 Phase two: Shere hills rock formations ………………………………………………………….. 58
3.8.4 Stages of production …………………………………………………………………………………….. 58
3.8.5 Phase three: Village scene …………………………………………………………………………….. 60
3.8.6 Stages of production …………………………………………………………………………………….. 61
3.8.7 Phase four: …………………………………………………………………………………………………… 63
3.8.8 Stages of production …………………………………………………………………………………….. 63
3.8.11 Phase Six: ……………………………………………………………………………………………………. 65
3.8.12 Stages of production …………………………………………………………………………………….. 66
3.9 Finishing and packaging of works …………………………………………………………………. 66
3.9.1 Materials for the framing ……………………………………………………………………………… 67
CHAPTER FOUR ………………………………………………………………………………………………… 68
PRESENTATION AND DISCUSSION OF WORKS ………………………………………………… 68
4.1 Introduction …………………………………………………………………………………………………. 68
4.2 Catalogue of finished works:…………………………………………………………………………. 68
CHAPTER FIVE …………………………………………………………………………………………………. 75
Summary, Findings, Conclusion and recommendations ………………………………………………. 75
5. 1 Introduction …………………………………………………………………………………………………. 75
5 .2 Summary ……………………………………………………………………………………………………… 75
5 .3 Findings based on the Design Production ………………………………………………………. 76
5.4 Conclusion …………………………………………………………………………………………………… 76
5.5 Recommendation …………………………………………………………………………………………. 77
5.6 Contribution to Knowledge …………………………………………………………………………… 78
5.7 Further Studies …………………………………………………………………………………………….. 78
REFERENCES ……………………………………………………………………………………………………. 79
APPENDIX A ……………………………………………………………………………………………………… 83
xi

 

 

CHAPTER ONE

INTRODUCTION
1.1 Background of the Study
Tapestry is a fabric, consisting of warps upon which coloured threads are woven by hand using needle to produce a design, often pictorial and used for wall hangings, furniture covers, bags, backdrops, rugs and so on. This is achieved through the manipulation of threads on vertical warp strands using a loom. The warp strands form the base for the design which is laid vertically on the loom. The weft threads go over and under the warps horizontally to weave the pattern required. Free Dictionary (2014) describes Tapestry as “A heavy cloth woven with rich, often in varied coloured designs or scenes, usually hung on walls for decoration and sometimes used to cover furniture‟‟ This study lays emphasis on the production of varied woven designs for wall hangings. Tapestry is a heavy fabric incorporated with intricate design or imagery, used as wall hung decoration or covering (“Tapestry,” 2016). It is a craft that has existed over the years, which is known for its intricately woven textiles. Encarta premium (2009) reports that tapestry, historically is a woven textile or cloth weave, typically decorated with figures, and used as a wall hanging, curtain, carpet, or furniture covering. It goes further to state that the term tapestry has also been used to identify any pictorial weaving. Similarly, the study was geared towards pictorial weaving of selected landscape formations to be used as wall hangings.
Efforts are made by designers in producing designs on fabrics and also weave patterns in different forms. These designs may be grouped into two; Dress and furnishing designs. Dress designs are produced to cater for different categories of people in terms of dressing for different occasions. Likewise, designs for furnishing are also in categories and have different functions. Furnishing design may include: – Seat cover, bedspread, throw pillow, rug, curtain,
2
foot mat, blanket, table cloth, wall hangings and so on. Wall hangings may include :- Tapestry, photographs, paintings, drawings, bead work, panel batik, glass mosaic, sand blasting, ceramic wares and so on. Consequently, tapestries have not been adequately explored to the best of my knowledge as decorative designs, using Plateau State landscape formations.
“The process of weaving, the interlacing of strands of vegetable or animal fibers to form a cloth, is thought to have been developed by many cultures on different continents‟‟ (Barnard, 1989). Coates and Roger (2008) reported that, the earliest known tapestry weaving was done by the Egyptians in the 15th Century BC. They go further to state that linen fragments were found in the tombs of Thutmose IV and Tutankhamen preserved by the dry desert climate. They also point out that “the scholars‟ surmise that the ancient Egyptians learned the art of tapestry from the people of Mesopotamia”. Barnard, (1989) opines that, “Loom woven textiles have been excavated from burial chambers in Egypt, coastal Ecuador and Peru that have survived for over one thousand years, entombed with their owners as a palliative to the gods and a passport to a new life after death.” This was based on their assumption, and must have been on the grounds of limited evidence available to have drawn on such conclusions or intuitive feelings. It is believed that the art of tapestry is also practiced in Benin, West Africa. Ogumor (1998) supports this point of view by noting that; “In the Republic of Benin, Appliqué work was prevalent” Appliqué was seen as tapestry because it has to do with cutting of pieces of cloth and sewing them together on a larger fabric that is plain in order to form patterns or designs. From Encarta Premium (2009) shares the same view that, “Appliqué tapestries were made in Benin from pieces of fabric, which represent spirits from vodun religion”. Vodun is commonly called voodoo, a term that carries derogatory inaccurate associations, according to some scholars. Vodun religion is said to combine elements of Roman Catholicism and tribal religions of West Africa, particularly Benin. Many people in the West
3
African region of Benin practice vodun, a belief that spirits reside in all things in nature. Similarly, the Haitian religion of vodun mixes the tribal traditions of West Africa with elements of Roman Catholicism. The natural environment provides opportunity for artists and designers to explore, and practice their creative abilities which direct them towards executing such artistic expression in diverse ways. The desire to explore selected Plateau State landscape formations as inspiration and to adapt them into handcrafted tapestry for tourism consumption is what prompted this study. Tapestry has been produced by many artists in Africa, some of which have similarities to those of European tapestries especially the Bayeux tapestry which was concerned about the legendary conquest of the Senegalese warriors. Today handcrafted woven fabrics have remained popular in spite of intensive competition with foreign textiles (Ada, 2010). This study focuses on producing handcrafted woven designs, derived from selected landscape formations in Plateau State as inspiration which has been translated into contemporary designs. Sani and Gurin (2010) observed that “many Nigerian artists have derived inspiration from nature and have painted landscapes, projecting a wide range of forms and elements like, trees, flowers, rivers and rocks”. Similarly, this study was inspired by such striking intricate forms and elements from the natural environment.
Presently, several artists have tried to explore landscapes using other media such as painting and photography. Gushem (1990) amongst others have produced paintings of savannah landscapes using oil on canvas, and emphasized on the use of colour and movement in most of his works. Another Nigerian artist is Shindai (2011), who painted selected landscapes of Plateau State using oil on canvas as a medium of expression. Shindai‟s compositional emphasis was on Shere hills formations, and focused on simplicity in his study of the Shere hills rock features. In this study, selected Plateau State landscape formations were used as inspiration in the rendition of variety of compositions. Those who have produced tapestry in
4
Africa include Papa Ibra Taal and Abdullahi N`diaye of Senegal. On the foreign scene, much has been done on tapestry both traditionally and in contemporary forms. Encarta Premium (2009) reported that “traditional European tapestry has been woven either on vertical loom (high warp, or haute-lisse) or on a horizontal loom (low warp, or basse-lisse).” These include Eastern, Asian, Pre- Columbian Tapestries and European Tapestries. These tapestries have been found to include the Bayeux Tapestries, Gobelins Tapestry, the lady with the unicorn, Tapestry Valance, have been found to be tapestries that were produced depicting mostly events. Similarly, this study explored the possibility of producing tapestry wall hangings from selected landscape formations in Plateau State in different interpretations. These natural formations have been observed and found to have significant cultural importance. They represent historical, cultural and natural monuments of the State and beyond. The study laid emphasis on searching for natural formations of interest and producing them into tapestry designs using synthetic wool as the principal weaving material for expression, realizing that tapestry is seldom practiced in Nigeria. The study explored design landscape compositions in tapestry, using selected landscape formations in Plateau State as inspiration. This will go a long way to contribute to the economic development of handmade textiles sought for by tourists who visit Plateau State.
1.2 Statement of the problem
Wall hanging designs are mostly projected in prints, photographs and paintings, but less attention is given to tapestry design. There are hardly any wall hangings of Plateau State landscape formations, to the best of my knowledge that are in tapestry design. Consequently, the researcher sought to translate landscape compositions into tapestry wall hangings for embellishing the interior. The essence is to project its beauty and potentials in tourism and economic development which to the best of my knowledge has not been adequately done before now, towards greater appreciation in Nigerian society. The problem of the study
5
therefore, is the production of handmade designs using assorted yarns to represent some of the landscape formations in tapestry design for appreciation. Olufemi and Ajayi (1986) in Ada,(2010) saw “tourism as a process or act that involves people visiting places of interest where they can relax and be entertained.” They added that, “it is an act of discovering the free gift of nature and how to prevent them from extinction.‟‟ Urbanization is also another factor aside insecurity that has affected these scenic locations in the State. Different constructions carried out in the name of development have ended up in the destruction of most of these natural formations, without actually looking at their compositional values. Lack of interest and innovation in tapestry design by designers has motivated the researcher to produce variety of woven landscapes with notable innovation for embellishing the interior. Tapestry projects can be used to embellish public and private buildings such as: government embassies, hospitals, libraries, municipal, corporations, institutions, theatres, banks, and residences. The choice of a suitable technique of production came to mind as this will add to the variety of crafts that are being produced in the State and to further enhance the aesthetic values of these landscape formations. Tapestry was used in this study to explore the intricate arrangement of landscape formations in Plateau State and to harmonize that with aesthetically intricate interlacing of threads of different values as a medium of expression. Different artist have designed and painted different scenery as they perceived them in terms of form, line, shape, texture and colour using varying colour scheme that represent the main subject. Designs and paintings are produced using dye, ink, thread, paint, crayon and any material possible for creating images. In this research, synthetic wool of different colours was creatively manipulated to form pictorial landscape compositions.
Several means of promoting Nigerian‟s natural environment has been depicted, using painting, photography and printing, but the use of tapestry seems to have been conspicuously
6
insufficiently explored. The study tends to bridge the gap between tapestry and other related designs using an approach that is aesthetically worthy of note. The researcher observed that, most design based exhibitions are always dominated by works of batik, tie dye, prints, paintings, sculptures, ceramic wares, bead wares and other related designs. The absence of tapestry in most of such public and academic exhibitions has always been conspicuous, leaving a major gap in tapestry and other forms of artistic expressions. The medium offers a refreshing approach to the landscape depictions, using tapestry as a medium of projecting the wonders of nature.
1.3 Aim of the study
The aim of this study is to produce landscape decorative art and design works that have unique characteristics of Jos Plateau formations, using the tapestry design techniques.
1.4 The objectives of the study are to:-
i. collect data base of some prominent landscape features in Plateau State
ii. translate physical features on the Plateau into artistic designs using off loom weaving
iii. sketch and make swatches of different landscape compositions that feature historical, cultural, and environmental attraction for use as items for interior decoration
iv. weave different landscape designs, using interlacing and interlocking techniques in tapestry
v. package the selected tapestry wall hanging projects as materials for tourism promotion
1.5 Research Questions
The following research questions were generated to guide the study:-
i. In what ways can prominent landscape features of Plateau State be collected?
ii. How can physical features of Plateau State be translated into artistic designs using off loom weaving?
7
iii. In what ways can sketches and swatches be made to feature historical, cultural, and environmental attractions?
iv. What are the possible ways of weaving different landscape formations, using the interlacing and interlocking techniques in tapestry?
v. How can these selected tapestry projects be packaged as material for tourism promotion?
1.6 Significance of the Study
The research creates awareness on the distinct Plateau State landscape formations and their compositional appeal as a tool for acquisition of skills for self-reliance and manpower development among artists and designers. This exploration of selected landscape formations in Plateau State will go a long way to contribute to the development of handmade textiles using Nigerian scenic environment, an innovation that has added to creative designs using local scenic formations in Plateau State as inspiration. Olorukooba (1997) in Ada (2006) maintains that “ innovations are required in all areas of Nigerian society, if actually the country needs progress, and urged researchers to consider it as one of the serious challenges of their time so as to move the nation forward in the face of modern development.‟‟ The study harnesses the potentials available in the natural environment for aesthetics, utility, tourism promotion, economic development and environmental attraction in Plateau State. The study contributes to the educational, cultural, social and economic development of many societies in Plateau State and enriches the variety of crafts that is sought for by Nigerian populace and tourists alike. Educationally, it will motivate artists and designers to engage in tapestry design production as another area in design production for self-reliance.
Plateau State landscape formations are selected produced and exposed to the outside world in tapestry as decorative items. Adapting this mode of production will create more job
8
opportunities for many young Nigerians, thus reducing unemployment rate and poverty in the society. The arrangement of some of these formations like waterfalls, rock formations and wild life created an artistic excitement that led to the manipulation of synthetic wool in the production of compositions by the researcher. The study puts to bear the security situation of the hinterland and the landscape formations from the interior, within Jos to the safer environment where it is convenient for designers to reach the consumers. The study hopes to direct the public focus on the serene landscapes in place of a violent environment.
1.7 Justification of the Study
Different landscape compositions in tapestry form were produced to bring to the fore the enchanting landscape formations in Plateau State. The problem of insecurity in Nigeria cannot be over emphasized, as this has seriously affected every sector of the economy and has created fears and hardship on the people. People are no longer safe to travel, due to the insecure conditions in the country. Plateau State is not an exception of this calamity that has befallen Nigeria as a developing nation. Tourism is one out of the many sectors that have been affected by insecurity. It is a leisure industry that is concern about vocation, sightseeing, holiday making, travelling, and so on. The designer‟s concern is to bring to public consciousness of some of the scenic landscapes of Plateau State, through tapestry wall hangings. These landscape formations are mostly located in obscure and places where they are not easily accessible. It is obvious that people no longer visit most of these sites where the landscape formations are located. If such visits are necessary, then it must be with caution or adequate security back up for fear of being attacked. People are scared of visiting such places and they are beginning to appreciate these natural formations, especially now that they are not easily accessible as they were.
9
1. Educationally, the production of these natural formations into tapestry will create an opportunity for designers and artists to explore tapestry in terms of aesthetics, techniques, materials and style.
2. The production of tapestry will also serve as a reference point for design based students and researchers who are keen on improving the quality of their works and findings in related fields.
3. Design based courses have also assisted in graduating students who go out there to boost the tourism industry by producing standard and excellent works for public consumption.
4. The environment which provides enough sources of social activities allows for patronage of such features and thereby increases tourism potentials in the State through art collections and exhibitions.
5. Economically, the production of tapestry will increase the demand for such works by tourists who will use them as souvenirs and wall hangings for interior decoration. Similarly, an increase in demand is an increase in production therefore; it will increase job creation for the youths and reduce unemployment rate in the country.
6. Historically, Plateau landscapes tend to reflect the identity and reaffirm the features within the environment. Although the people regarded these formations as mysterious but with time and civilization they have come to realize and appreciate them better.
7. Socially, the production of landscape formations using tapestry will pave way for environmental awareness, thereby promoting educational, economic, and social activities in the State and the country at large.
8. Plateau State landscape features have been rendered in paintings and photographs and prints but not in tapestry. The research is therefore considered worthwhile.
10
1.8 Scope and delimitation of Study
The study covered some selected landscape formations from 5 local government areas in Plateau State. They include: -Riyom, Jos East, Jos North, Wase, and Barkin Ladi Local Government Areas in Plateau State, Nigeria. This research was also limited to the use of synthetic wool, and designs that approximate photography and painting in landscape compositions. The scope for the study constituted the following:-
 Rock formations – Riyom rocks, Wase rocks, Kahwang Basalt rocks, Shere hills, Kerang volcanic hill, Kwi conical hill, Ball hill.
 Waterfalls – Assop falls, Sha falls, Kura falls
 Game reserves – Pandam game reserve, Wase game reserves
 Holiday resort – Rayfield resort,
 Parks – Jos wildlife park, Solomon lars amusement park
 Gardens – Jos Zological gardens
1.9 Limitation of the Study
The researcher was not able to go to certain areas and snap photographs, due to insecurity. The researcher encountered with wild animals in some places visited because they are too far from settlement areas. In this study, it was difficult to warp on the loom using the twine which resulted in the researcher having blisters on her palms occasionally. It was difficult for the researcher to frame the tapestry designs, due to the delicateness of the woven landscapes.
1.10 Conceptual Framework:
The conceptual framework for this research was informed by the concepts of minimalism. Stella (2012) formed the conceptual framework upon which this research was established. The author stated that, “what you see is what you see‟‟ The central principle of what the author said is that not the artist‟s expression, but the medium, forms and materials of the work are reduced from reality to the bearest minimum. In other words: a work of art should not refer to anything other than itself. So therefore, the study was based on the visual
11
attractiveness of the landscapes in terms of their aesthetics appreciation to be used as surface embellishment for interior. Jalil, (2012) asserts that, minimalism evolved over the last century to include a vast number of artistic media. And its precedents in the visual arts can be found in painters like Mondrian, Van Doesburg, Reinhardt, and in Malevich`s monochromes. Minimalism is a chiefly American style in painting and sculpture that developed in the 1960s largely in reaction against abstract expressionism, shunning illusions, decorativeness, and emotional subjectivity in favour of impersonality, simplification of form, and the use of often massive, industrially produced materials for sculpture, and extended its influence to architecture, design, dance, theatre, and music (Lewis, 2009). This study was also based on the production of forms in a simplified and artistic expression using synthetic wool for interior decoration. The researcher combined abstraction with simplification of forms in some of its compositional rendition in the study of Plateau State landscape formations. The study therefore, employed the minimalist approach which produced an illusion that simplified the arrangement of woven patterns to form pictorial landscape compositions as decorative art. This study employed simple forms in the production of tapestry designs used as wall hangings for interior decoration. The use of forms, colours, materials, and techniques cannot be over emphasized as this research used synthetic wool to create designs that gives painterly effects. The materials and techniques adopted in this study complemented each other as the production went well using the interlocking technique without any rigidity in the process of manipulation.
12

GET THE COMPLETE PROJECT»

Do you need help? Talk to us right now: (+234) 8111770269, 08111770269 (Call/WhatsApp). Email: [email protected]

IF YOU CAN’T FIND YOUR TOPIC, CLICK HERE TO HIRE A WRITER»

Disclaimer: This PDF Material Content is Developed by the copyright owner to Serve as a RESEARCH GUIDE for Students to Conduct Academic Research. You are allowed to use the original PDF Research Material Guide you will receive in the following ways: 1. As a source for additional understanding of the project topic. 2. As a source for ideas for you own academic research work (if properly referenced). 3. For PROPER paraphrasing ( see your school definition of plagiarism and acceptable paraphrase). 4. Direct citing ( if referenced properly). Thank you so much for your respect for the authors copyright. Do you need help? Talk to us right now: (+234) 8111770269, 08111770269 (Call/WhatsApp). Email: [email protected]